I've just finished Book I of Cellini's two book autobiography. I have Symonds' translation in a single volume published by the Book League of America in 1937. Having been to Florence, Rome and Milan recently, Cellini's stories about himself and his adventures become truly vivid. At first, I could not imagine anyone being so self-agrandizing and so unabashedly boastful about his intentions, his artistic abilities and his view of his world. The man becomes so endearing through his writing, however, that I was not put off; rather, I found myself chuckling at his gall and style. His relationships and adventures with Popes Clement VII and Paul III, the Medici families, other artists, cardinals, dukes and jailors make for hilarious reading. His genius comes through and lingers as the reader ponders the historic figures and politics of Renaissance Italy. I'm beginning Book 2 today with great anticipation. What an ego! Symonds translation in 1937 is fine. He offers footnotes that aid the reader's following of the chronology. Further, Symonds often gives the phrase as Cellini wrote it, should there be different nuances in translation.

One of the first and yet one of the greatest autobiographies of all time. Any celebrity or would be celebrity thinking of dashing off a quick "life" or apologia pro vita sua could do worse than start by reading or re-reading this fantastically intense and life-enhancing book

This piece is an excellent portrayal of life during the Italian Renaissance, but more importantly, the book is purely entertaining. Benvenuto Cellini tells the story of his life in a vivid tale of kings and prostitutes, artists and dukes, soldiers and necromancers, all the while proclaiming himself the absolute protagonist of his world. Cellini's autobiography is filled to capacity with egotism, but this only makes the story more interesting. In a good piece of literature of this type, a person wants to see a main character with absolute confidence in himself; a superhero if you will. Benvenuto may not be a superhero, but he tells his life story as if he was the greatest of all such legendary folk heroes. If children read this book or were read this book during their childhood, perhaps on the playground at recess, kindergartners would say: "Hey let's play superheroes, I get to be Superman, I get to be Benvenuto Cellini." With the master goldsmith's stories about fending off six armed men with a single dagger, without a thought of fear in his mind, who wouldn't be solidly entertained?

I am a sculpturess, I have a project to do a bas-relief. I like his works a lot. I need this book as soon as possible, I wish. Thank you give us a change to read and find this book.

Beautifully illustrated with stunning detail photos, Hennessy's book is a useful source for the Renaissance and Baroque scholar. The text is well-written, straightforward, and contains not only biographical information but up-to-date, informative formal discussions of the works. He touches not only on the greatest of the masters but also on their followers. The bibliographical information is endlessly helpful for students.

This small volume (fewer than 60 pages of text) is well worth tracking down through the 'out-of- print' mechanisms. Originally a lecture, the book introduces Piero della Francesca as a "reclusive, silent, rather taciturn friend", but a friend nonetheless. Mr Henessey's rounded analysis and warm descriptions of both the painter and his paintings certainly allow the reader to establish a relationship with Piero. Depsite the author's slightly disparaging remark about "tourists in their rented Fiats" following the Piero della Francesca trail, I urge travellers (Fiat driven, armchair or others) to increase their knowledge, appreciation and sheer enjoyment of Piero by slipping this volume into their luggage or onto the bookshelf. The book is usefully illustrated.

One of the pleasures of a small book is the ability to savour the author's writing. This volume combines Huxley's essay (which makes the startling claim that Piero's Resurrection is the best painting in the world) with Pope-Hennessy's lucid descriptions of Piero's works. The plates are wonderful and well arranged. PH's swipes at Kenneth Clark and John Mortimer would seem churlish in a larger, more ponderous volume, but are merely charmingly opinionated here. A lovely way to spend an hour or two.